Every now and again we’re fortunate enough to get the opportunity not only to see a big name but to experience them in a smaller, more intimate setting for those special one-offs that people go on to talk about for years to come — that’s how we got to see Maggie Rogers at Gorillaon Monday.
Better still, we were incredibly lucky to be offered time to speak with the American singer-songwriter just a couple of hours prior to her all-acoustic set at Gorilla and just before she and her band set off to tour her new album, Don’t Forget Me, which drops next month.
Manchester being the first of these up close and personal pre-album launch shows here in the UK, of which she listed just four, it’s always an honour to be picked for the start or the end of an album cycle but it was immediately clear she had a lot of love for our city.
Arriving in 0161 on Sunday just in time for the Paddy’s Day chaos and to watch the FA Cup final between Man United and Liverpool in a local pub, our conversation started with simply: “That game!”
We’re loving these intimate gigs at Gorilla — give us more.There are some very passionate Maggie Rogers here.Credit: Piran Aston (via Gorilla)/The Manc
The interview
After meeting and greeting the line of people already queuing up for the 500-cap Gorilla show, we walked backstage for what ended up being a laid-back chat about live music, relaxing into herself as an artist and an album process that was recorded in a whirlwind five days.
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Touching on the upcoming third album and that beautiful title track, Maggie said, “It feels like coming home. In a lot of ways, it’s like a return to a lot of the style of songwriting and production and arrangement that really got me into music in this place when I was like 16/17.
“It just feels really relaxed and my friends keep saying that it sounds like the version of me that they know. I think, after doing this for quite a while, I’m finally relaxing into it.
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“I think it’s always been authentic but I think music sort of takes some of the most sensitive and intense people and puts them in really high-intensity situations… It’s not even that I wasn’t being authentic before, I think it’s just that my guard was a little bit up yeah. I was a little scared — I still am, you know, but I think that’s normal.”
Describing how it felt her last LP Surrender had the punchiest and most contemporary rock approach of her music to date, we then moved on to where her style is at currently and the difference between the studio listening experience and live performance.
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“I mean, my undergrad was in production engineering but that record was really designed to be played live, especially in a time like the pandemic, where all I was thinking about was coming back to touring and really missing it.
“I got really into British rock and, at least during the Surrender era, I was like fully like in Oasis mode, but you guys are responsible for some of the best music and pop culture.”
Chuffed that she dropped in the Burnage boys so early in the conversation, she went on to say that although she was “discovered in a moment of experimentation” — that old Pharrell meme (yes, that is her if you’ve never put two and two together), her “songwriting has always been the same at the centre.”
“What I love about making albums is the world-building part of it, and I’ve just gotten to build different worlds. I always think about where the albums are designed to be listened to and Heard It in a Past Life was really designed for headphones, Surrender was really designed for stage and this is really designed for a car — like a Sunday afternoon drive”.
As she puts it, the debut was lots of synths, the sophomore was “drums and distortion” and the star of Don’t Forget Me is the acoustic guitar. “There’s definitely different forms of energy”, she said, adding: “but this is more on the stripped side and the whole record was kind of designed as a live album. Almost everything was a first take and this record was made in five days”. Some achievement in its own right.
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Credit: Maggie Rogers
Having the most fun on stage
After touching on that internet moment from back in 2016, we then talked about how seeing her for the first time at Victoria Warehouse back in November 2022 (which she described as “so sick” and one of her favourite venues here in Manchester) was the real ‘wow’ moment for us and realising just important it is to see her live. Maggie puts a lot of it down to the band.
“I think that on stage what I love is that it’s different every night. I’ve worked really hard to be excellent at something that I really love and I get to play with some of the best musicians around and my band is just so f***ing talented.”
“It’s sort of like I hope the audience is having a good time too but also if they’re not I’m just having a really good time anyway.” She definitely was too; jumping ahead a little bit, one of our favourite moments from the gig was when she stopped between songs to laugh and say, “I just love playing music”.
She said similar about the creative process this time around too. Although there’s a lengthy newsletter post describing how the album came to be on her Instagram, she summed up it by saying, “Creativity, often comes from some of the most essential and sometimes childish or playful senses.
“Like, it’s called playing music and I think keeping that like sense of playfulness alive is so inherent to keeping my creativity alive, and in the studio making this record I was just having so much fun and was just feeling really playful, so we sort of made a record by not trying to make a record.”
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Again, you could see that “contagious joy” she talked about written on her face and everyone else’s.
She was having the most fun and, believe us, so was everyone who managed to get a ticket for Maggie Rogers’ sell-out Gorilla show.
The show
Moving on to the show itself, Maggie said she was most looking forward to playing the likes of ‘Drunk’ which they’ve been doing live for a while now, as well as a track she called “devastating” with just the keys and a guitar entitled, ‘The Kill’ — and she wasn’t lying.
She set up the song by promising “It’s such a jam” with a full band but the stripped-back version fittingly killed us off in the crowd and the same could be said for a lot of the versions we heard on the night. From ‘Begging for Rain’ to an almost ethereal take on ‘Alaska’, you really get to appreciate just how incredible her voice is in this kind of scenario.
Bigging up British and Manchester crowds in particular because we “know culture and [we] care”, insisting, “It’s crazy how important those two things are”, her audience certainly lived up to the billing. She said there’s no “half-assing” it with us and she was right. We were emotional and so was she.
The set naturally closed with ‘Don’t Forget Me and a few teary faces (we didn’t dare film that moment as we wanted to be present) but nothing summed up the night better than when the Manc Maggie fans pretty much turned Gorilla into a congregation for ‘That’s Where I Am’, perfectly harmonising and clapping like a gospel choir.
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We’re already looking back on the show and thinking of it as going down as one of those ‘I was there’ moments and we think we speak for everyone when they say they won’t forget the time they saw Maggie Rogers at Gorilla with nothing more than a guitar and her piano player — also incredible, by the way.
Don’t Forget Me releases on Friday, 12 April and we already can’t wait to hear not only how the rest of it sounds but how the tracks we heard sound fully-fledged.
‘That’s Where I Am’ – Maggie Rogers, live at Gorilla (Credit: The Manc Audio)
Featured Images — The Manc Group/Press Image (supplied)
Audio
Five Manchester artists we’ve been listening to this month | March 2025
Danny Jones
Oh, hello there. Did you think we’d forgotten to do our Manchester artists round-up for March? Don’t be daft, it was just a joke – a silly little April Fool’s joke.
This is, without a doubt, one of our favourite times of the month because we get to look back at our music habits in more bitesize pieces rather than feeling like we have to defend a whole year’s worth every time Spotify Wrapped rolls around.
If you don’t know the drill by now, for one, where have you been? Secondly, welcome to the listening party: it’s the period we set aside to spotlight the best up-and-coming, underrated and veteran musicians from Greater Manchester alike – so long as they’re good, we’re happy.
Let’s get into it then, yeah?
Manchester bands and artists we’ve been listening to this month
1. Lusaint
First up on our list for March is a very talented woman by the name of Lusaint – real name Lucy Hopkins, but trust us, this is a stage name set for stardom as far we’re concerned. Manc born and bred, she has the voice and vibe of an old soul with all the talent and style to go up against the biggest around today.
She started gaining followers through her stunning covers of everyone from Kings of Leon and Whitney Houston to Fleetwood Mac, Jason Mraz and many more. That being said, her pop-forward original solo material is hitting our ‘Sweet Tooth’ and then some, so we tried to keep it cool when we met her recently.
If you’re looking for where to start, her latest single ‘Neon Lights’ has an almost laid-back, neo-soul vibe; ‘Sober’ has a bit of Winehouse and Bailey Rae to it, but the best way to sum her up is soulful R’n’B with plenty of jazz and contralto moments sprinkled in there. The piano version of ‘Dark Horse’… Oof.
You’re damn right we’re putting them back amongst our Manc artists of the month list because not only have we’ve been listening to their new album non-stop but, in case you hadn’t heard, it’s just gone to number one – their second to date!
Leigh’s very own Lottery Winners need no introduction at this point: they’re becoming an increasingly big name in the indie, pop and Northern scene in general, but they also might just be up there with the hardest working bands going right now.
We could recommend tonnes of songs to kick off with but we’d like to give a big shout to ‘Superpower’, a real bit of genre whiplash that really works, ‘You Again’ with Jon McClure of Reverend and the Makers because it’s just a banger and ‘Turn Around’ because same and it has the cutest music video ever.
Now, this next one pains us slightly because Push Baby, as eclectic and interesting as they, are currently inactive as of 2022 following the release of their second full LP, Wow, That’s What I Call Push Baby!, which is brilliant subversion of modern mainstream music.
Made up of lead vocalist Jake Roche, the son of British household names, Coleen Nolan and Shane Richie, as well as multi-instrumentalist Charley Bagnall – both formerly of the boyband Rixton too – this alternative duo were pushing plenty of boundaries before they took a pause to pursue other projects.
Song wise, ‘WHAT YOU GONNA DO?’ is the closest thing to a new NSYNC track as you’ll find, ‘thenineteenseventyfive’ genuinely feels like it could fit on Notes On A Conditional Form if you just swapped out the vocals, and you simply have to start with the first song we ever heard from them: ‘thor’
You get a much different level of production on the studio version than this equally beautiful live recording. We hope they come back.
4. Tim Burgess
Our penultimate pick for this month is a Manc music legend whose music we’ve been exposed to most of our lives, but it pains us to confess were relative latecomers to his solo stuff. The Charlatans frontman had such a large body of work but we’ve finally cracked into properly for the first time.
It won’t surprise you whatsoever to learn the Salfordian icon’s own singer-songwriter records are just brilliant asd everything else he’s done in his career and we’ll feel daft to have waited this long to dive deep. There’s plenty to get through, put it that way.
Everyone’s heard ‘OH My Corazon’ (in fact, we’d wager you’ve heard even more Burgess than you realise), but we’d grown a particular soft spot for ‘Sure Enough – Eyedress Remix’, ‘White’ and ‘Empathy For The Devil’ where he voices go real Ian Brown-esque. We’ll keep digging and get back to you.
Yet more evidence that he deserves your attention and respect for what he’s done/doing for Manc music
5. Dirty Blonde
Last but certainly not least is another duo that unlike Push Baby aren’t just active but are absolutely rip-roaring through the infancy of their alt rock story already and have all ferocity of a pair of Manc music pioneers that are going to go far – Spill The Sound seem to think so too.
Modern girl rock that kicks you in the face with punchy riffs, catchy hooks, great vocals and plenty of confidence and all-round swagger that makes you think they’re made for this business. You could probably draw all manner of comparisons to contemporaries, but put simply they just sound sick.
There’s not absolute reams to get through yet as the two are ones for the future, but we’ve particular enjoyed ‘Rush’, ‘Run (When I Tell You)’ and you’d be a fool not to take a look at their new single ‘Adore Me’ which achieves exactly what the title says. Love ’em and we look forward to hearing more.
And we’re sorry to say that’s all she wrote for another month and we apologise to any of you die-hard readers for being a day late to it this time around, we promise we won’t make a habit of it.
In the meantime, you can always go back listen to our Manc music favourite from February to keep your playlists feeling refreshed – and all the other lists prior, come to think of it.
The funds will help improve the already incredible music scene in Manchester, benefitting staples likes Night and Day Café, Matt and Phred’s Jazz Club, SOUP and more.
All of the donations will be distributed across six independent music venues and will be used for various instruments, PA equipment, backline technology and other necessities depending on the requirements of each site.
Elbow have teamed up with Co-op Live in aid of supporting Manchester grassroots venues.Credit: Supplied
This initiative has been keeping Manchester’s Northern Quarter in the forefront of people’s minds when it comes to live music as well as the impressive Co-op Live.
Alongside providing vital resources for these local institutions, Elbow teaming up with Co-op Live also helps cement the North West as one of the main powerhouses in relation to live music.
The latest efforts from the largest indoor arena in Manchester fall in line with celebrating one year of bringing some of the best live music to the city, being officially open for 12 months in May.
Co-op Live have made a commitment to the people and the planet, promising to donate £1 million annually to the Co-op Foundation.
The stunning Co-op Live venue, Manchester’s largest indoor arena.Elbow performing at Co-op Live, marking history as the first act to grace the venue.Credit: Audio North/Supplied
Manchester’s latest live music venue also contributed significantly to selected charities, including Happy Doggo – chosen by Liam Gallagher and Eric Clapton’s addiction recovery centre, Crossroads.
As Elbow teams up with Co-op Live, even more money is making its way to necessary resources, this time in the likes of crucial live music establishments.
Elbow front-person Guy Garvey says: “Playing Co-op Live’s opening night will stay with us for a lifetime, not least because of how incredible the room sounded.”
“When the venue donated funds in our name to support the city we love, it made complete sense to carry that through to the Northern Quarter and to venues that have meant so much to my bandmates and I throughout our career.”
Guy Dunstan, Senior Vice President and General Manager, Co-op Live, adds: “In the past year, I have been proud to see Co-op Live become an integral part of such an incredible city.”
“Teaming up with Elbow to directly support the venues that first put Manchester on the map, and to share something so intrinsic to us as venues – proper sound – is something truly special.”